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Space (in) film: theoretical conceptions of space from reality to intermedia
Svatoňová, Kateřina ; Hanáková, Petra (advisor) ; Bílek, Petr (referee)
FILOZOFICKÁ FAKULTA UNIVERZITY KARLOVY V PRAZE KATEDRA FILMOVÉ VĚDY PROSTOR (VE) FILMU teoretické koncepce prostoru od reality k intermedialitě Diplomová práce VEDOUCÍ PRÁCE KATEŘINA SVATOŇOVÁ PhDr. PETRA HANÁKOVÁ, Ph.D. PRAHA 2006 2 Prohlašuji, že jsem diplomovou práci vypracovala samostatně s využitím uvedených pramenů. Upřímně děkuji1 Petře Hanákové, Ph.D. za velice moudré a inspirativní vedení napříč časoprostorem a svému otci za to, že tato procházka od reality k intermedialitě mohla být takto příjemná. 1 Stejně jako není možné uchopit problematiku prostoru v celé jeho šíři na rozměru diplomové práce, není ani adekvátní a zcela výstižné takto strohé poděkování... 3 OBSAH: Úvod I. Záměry a cíle diplomové práce. Struktura tématu 5 II. Metody a současný stav bádání 10 Prostor a jeho možná vymezení I. Žitý prostor 12 I.1. Filozofické koncepce prostoru 19 I.2. Prostor jako antropologická kategorie a jeho vnímání 22 I.3. Problematika času a prostoru v jednotlivých teoretických konceptech 31 II. Mimetický prostor 38 II.1. Transformace prostoru médiem a jeho abstraktní chápání 39 II.1.1. Prostor díla 48 I.1.2. Prostor v díle 65 II.2. Problematika času a prostoru v mimetických uměních 74 Prostor jako komunikace, prostor jako narace III.1. Vývoj naratologických konceptů směrem k prostorovosti 91 III.2. Prostor...
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Chytilová, Kučera, Krumbachová: Daisies and Fruit of Paradise as an experiment of three authors
Křížkovská, Terezie ; Svatoňová, Kateřina (advisor) ; Klimeš, Ivan (referee)
(in English): The following bachelors thesis deals with the creative cooperation of the Czech film director Věra Chytilová with the director of photography Jaroslav Kučera and art director Ester Krumbachová on the films Daisies (1966) and Fruit of Paradise (1969). Its aim is to answer the question if it is possible to distinguish between the contributions of each of the filmmakers or if rather their artwork is a product of three equivalent authors. Both of the films are characteristic for their extreme artistic stylization thanks to the experimental work with plot and film form, and therefore the thesis focuses on this tendency for experimentation as a specific Czechoslovak cultural phenomenon in the sixties and observes it among different art fields at the time. Subsequently it describes the transformation in different artistic approaches and shows their impact on filmmaking. It unravels not only the social and cultural transformations of the time, but also the institutional changes in film production that represent essential conditions for the genesis of the New Wave in Czech cinema and along with it experimental filmmaking. Thereafter it defines the characteristic themes and style of previous works of Věra Chytilová, Jaroslav Kučera and Ester Krumbachová. In the last part it uses these...
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Material Fictions: Moving (Between) Images of Contemporary Art
Purkrábková, Noemi ; Svatoňová, Kateřina (advisor) ; Petříček, Miroslav (referee)
7 Abstract This master's thesis engages moving images of contemporary art in order to sketch out certain ontological qualities of the digital image and imaginary, as they increasingly spill out of all fixed frames and fill the spaces between screens, contexts, and human and non-human agents. Following Steven Shaviro's observation that digital media brought about a completely "new regime" of mutable technical imaging often independent of any preceding "real" space, but instead able to produce its own space-time, this text treats moving images as performative world-shaping fictions with tangible traction on reality. Instead of understanding their growing proliferation in terms of the often-mourned disappeared correspondence to some previous reality, depth or truth, it suggests taking their fluidity as an opportunity to rethink the very divide placed between reality and fiction, as it continues to blur throughout our interactions with digital media, and to treat images not as mere representations but as material forces intensively active in the physical matter of the world, as well as in our own cognition. To articulate this irreducible materiality of digital image-fictions, the thesis weaves together on one hand respective philosophical concepts of François Laruelle and Gillese Deleuze and Félix Guattari -...
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Posthuman Art Praxis: Restless Boundaries of Planetary Subjects
Sirůček, Jiří ; Svatoňová, Kateřina (advisor) ; Likavčan, Lukáš (referee)
Our impact on the planet's functioning has allegedly become so profound that during the last years the scientific community has been considering assuming a shift from the Holocene - our current geological epoch - to the Anthropocene, the Age of Man. According to philosopher Bernard Stiegler, this "era of Humans" is not only visible in the devastation of natural ecosystems, but also through the destruction of human skills and methods of transmitting knowledge. The Anthropocene, which was initiated by the industrial revolution, thus passed through the industrialization of culture, and has disrupted our understanding of the world. Philosopher Rosi Braidotti proposes that with the advent of this new era, we ought to be aware of not only the ever-present environmental catastrophes, but that we also ought to use it as a tool for reappraising what it means to be Human. According to her, the Western subject was created as a product of the Humanist cultural hegemony which defined it within a logic of binary opposition. In light of these ideas, this Master's thesis attempts to show that art can provide us methods for redefining our relationship to each other, as well as to the wider world, and help us navigate the contours of the ongoing crisis. The work uses Posthumanist thought and its affiliated...
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A memory of technical images: Diary films of Jonas Mekas
Vobořil, Tomáš ; Svatoňová, Kateřina (advisor) ; Šimůnek, Michal (referee)
Jonas Mekas connects in his work amateur mode of filming with professional motivations of experimental filmmaker. His film style is based on the aesthetics of home movies and he turns attention to his own personal, individual experience. He and the other filmmakers of The New American Cinema wrested film from the classical studio mode of production, established a new distributional circuit of the independent cinema and founded institutions dedicated to archive and study avantgarde and experimental cinema. The main objective of this thesis is to describe, how home movies came into use as a formal medium of communication for independent filmmakers in New York in the fifties and sixties. This thesis focuses mainly on the work of Lithuanian experimental filmmaker, poet, film critic and organiser Jonas Mekas. The main interest is in, how Mekas removes home movies from their original context and how are home movies perceived beyond their primary context in general. Therefore I define according to Roger Odin signs and functions of home movies in terms of the family institution. I specify various fields of cinema, which Mekas merges in his work. I study strategies, which are used to process home movies in a detailed analysis of Mekas's film As I Was Moving Ahead Occasionally I Saw Brief Glimpses of Beauty...
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.: Reading and observing the Case for the New Hangman
Maršálek, Dan ; Svatoňová, Kateřina (advisor) ; Heczková, Libuše (referee)
This text is concerned with an analysis of the film A Case for the New Hangman (1969, Pavel Juráček) in the viewpoint of the way, how does it fulfill the allegory genre, or more precisely its modernist variation. Compared to the former texts, which were focused on the same film, this text explains the main features of the film in their conceptual complexity, which is induced by the films structural kernel, which is the consequence of the subgenre setting. The main outcome of this study is the underpinned specificity of the film, which is an important component of the cultural heritage of Czech cinematography. Three subordinated outcomes are: Survey in the texts which are related with the scrutinized film. Comparative and critical analysis of chosen theories of literature concerned with the notion of allegory and afterwards the transfer of them to the field of film. And building up the genology model of modernist allegory, which is a functional characteristic of one of the two dominant trends of the Czechoslovak art cinematography of the 60. - the so called "Czechoslovak New Wave". This text is theoretically analytical film study research of the Case for the New Hangman in genological and narratological methodology.
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Trapped in the Infinity: Central European Panoramas and Their Role in the National Emancipation Processes
Forejt, Matěj ; Svatoňová, Kateřina (advisor) ; Klimeš, Ivan (referee)
From pioneer times of C. W. Ceram on, many media-archaeology scholars' attention was attracted by on of the most monumental apparatuses - a panorama. Like in a case of many other optical toys, the panorama contains several phenomena of film medium a long time before its invention. In addition to that, the panorama is considered to be the first form of mass entertainment ever. All of its characteristics were defined already by Robert Barker, a British painter and an inventor of the panoramic painting. Contrary to an original way of its commercial exhibiting, a group of panoramas of the late 19th century was produced in a context of nationalist movements in Central Europe. This very group of panoramas is the main object of this thesis. Its main goal is to define an emancipatory-patriotic panorama as a specific media genre. Furthermore, related problems of media constancy, collective identity, and memory spaces are examined.
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The methodology of preservation and presentation of multimedia data
Získal, Bohuš ; Bohuš Získal ; Cubr, Ladislav ; Berka, Roman ; Svatoňová, Kateřina
This methodology was created within the implementation of the project "Laterna magika. History and Present, Documentation, Preservation and Accessibility ”DG16P02H005 funded by the Program to Support Applied Research and Experimental Development of National and Cultural Identity for the years 2016 to 2022 (NAKI II). The methodology is based on the need to describe the procedures for the description, storage and presentation of digital information objects created during the processing of documentation of historical performances of Laterna magika and to define these procedures in such a way that they are applicable to other works of a similar nature. The methodology responds to a situation where at the national level, and for some specifics of the content or at the global level, there are no defined standards of care for this type of cultural heritage, which would cover all the necessary activities. The above-mentioned specifics include the form of a live performance using technologies and elements, which significantly contribute to the informational and aesthetic form of the work, and the combination of which as a whole is difficult to document. The methodology is intended for memory institutions, their partner organizations or suppliers who participate in the creation, processing, presentation and storage of data generated during the digitization, reconstruction and description of documentation of multimedia performances. Best practices and data structures take into account the situation where physical (data) objects related to works are in the collections of different institutions or individuals, and it is not possible or desirable to collect all physical objects under one common administration. The methodology was verified by the researchers of the project for the Národní filmový archiv, Prague, CESNET and the Institute of Intermedia at CTU FEE on selected data created for the presentation and preservation of historical performances of Laterna magika.
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Intuition and vacuum of film imaging
Krůček, Václav ; Svatoňová, Kateřina (advisor) ; Petříček, Miroslav (referee) ; Dvořák, Tomáš (referee)
My PhD thesis explores impacts of the specific moments of film within the context of its ontological potential. It follows forms of intervention into stability and continuity of visual re-presentation, which may induce intuition of the new. The opening chapters are devoted to the image "in itself", presented as duration of a "self-modulating" shot, whose apparent stillness initiates (with participation of sound) the pressure of off-screen field. The relationship of visible and sensible is considered from this point as initiation of impulses and changes immanent to film recording, as examined in subsequent arguments. Presented shots in these cases not only fulfill its narrative function by means of pictorial representation, but act concurrently as movement of elementary structures in time, as Gilles Deleuze points out. Based on references to his reflections, the following chapters expand on topics that analyze factors, partaking in possible initiation of intuition: effects of sequential processes of difference and repetition in film images, their rhythm, duration, elementarization, refraction and disappearance. Sudden occurences and persistence of these processes are demonstrated in film examples, where intuition departs medium and unfolds reality beyond film.
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